Туркменское искусство вышивки

TURKMEN ART OF EMBROIDERY

Ogultach Khojanazarova is a Candidate of Philological Sciences and Deputy Head of the Department of Intangible Cultural Heritage at the Ministry of Culture of Turkmenistan Guljan Nobatova is an employee of the Department of Intangible Cultural Heritage at the Ministry of Culture of Turkmenistan Turkmen embroidery (keşde) is a distinctive form of artistic expression that has been preserved for centuries and occupies an important place in the value system of the Turkic peoples. Since embroidery carries elements of a visual language that reflect the people’s worldview, customs, social and religious beliefs, and their connection with nature and the cosmos, its role in Turkmen in all regions of Turkmenistan, Kushtdepdi is performed at family holidays and state celebrations. Because of the wishes expressed in its lyrics, the dance has acquired the significance of a musical symbol of the Turkmen. Its performance brings performers and audiences the joy of communal unity, kindness, and confidence in future well-being. International festivals held by Turkmenistan, where Kushtdepdi is performed, are received with great admiration by the public. United in a whirlwind of dance, participants from many countries present an enchanting display of national dress, jewelry, and styles, embodying the unity and cohesion of the Turkic peoples, as well as the indissoluble bond of generations. 2017-nji ýylyň dekabrynda «Küştdepdi aýdym we tans dessury» UNESCO-nyň Adamzadyň maddy däl medeni mirasynyň görnükli nusgalarynyň sanawyna girizildi. Küştdepdi Türkmenistanyň ähli sebitlerinde ýaýrap, maşgala baýramçylyklarynda we döwlet dabaralarynda giňden ýerine ýetirilýär. Tekstlerde ýaňlanýan gowy arzuw- islegleriň netijesinde bu tans türkmenleriň nyşanyna öwrüldi. Onuň ýerine ýetirilmegi gatnaşyjylara dostlukly agzybirligiň şatlygyny, hoşniýetliligi we geljege bolan ynamy geçirýär. Türkmenistan tarapyndan halkara derejesinde geçirilýän festiwallarda Küştdepdi tansynyň ýerine ýetirilmegi tomaşaçylary haýrana galdyrýar. Tansda ähli ýurtlaryň gatnaşyjylarynyň ýokary derejede sazlaşýan milli eşikleri, bezegleri we stil aýratynlyklary türki halklarynyň agzybirligini we jebisligini ýüze çykaryp, nesilleriň dowamlylygyny aňladýar. from the deep philosophy of the people” [Berdimuhamedov (2015), 146]. Besides its symbolic motifs, a characteristic feature of Turkmen embroidery is its high- precision technique and expressive color palette. The primary colors are traditionally red, black, white, gold, and blue. These colors were not chosen randomly; each had semantic meaning associated with cosmogonic ideas. For example, red symbolized vitality and warmth, while black signified protection from the evil eye. Embroidery was usually executed on thick cotton or silk fabric, using wool, silk, or cotton threads. Most often, the selection of materials and colors depended on the region and the family’s social status [The art of Turkmen embroidery (2022), 46]. The most common forms of national embroidery in Turkmenistan are the decorative finishing of women’s garments and children’s clothes, and the embroidery of headdresses. Household items and decorative yurt elements were adorned with embroidery. Embroidery on wedding dresses is deeply symbolic, with each pattern chosen to reflect social status and cultural traditions. Embroidery in Turkmen culture performed an important social function: embroidered products became part of the bride’s dowry and symbolized the girl’s skill, upbringing, and family dignity. In some regions, amulets for newborns take the form of special patches and pendants sewn onto a baby’s clothes. As part of the common Turkic heritage, Turkmen embroidery demonstrates the Turkic peoples’ contribution to world artistic culture. The ornamental motifs characteristic of Turkmen national embroidery are reflected in the textiles of other Central Asian peoples. Thanks to active cultural contacts along the Great Silk Road – much of which ran through Turkmenistan – the motifs, stylistic features, and techniques of Turkmen keşde spread far beyond local tradition and became part of a shared Oriental visual language. In the modern era, products featuring elements of Turkmen embroidery are in steady demand both inside and outside the country, and continue to be an important part of Turkmenistan’s everyday life and festive culture. Turkmen designers incorporate embroidered ornaments into collections of salynýan nagyşlaryň çuňňur simwoliki manysy bolup, olaryň her biri sosial ýagdaýy we medeni däpleri özünde jemleýär. Türkmen medeniýetinde nagyşlaryň her biri möhüm durmuşy wezipäni ýerine ýetirmek bilen, nagyşlanan önümler gelniň bukjasynyň hem- de goşlarynyň düzüm bölegine öwrüldi we gyzyň ussatlygyny, bu ugurdaky tejribesini, terbiýesini we maşgala mertebesini alamatlandyryp geldi. Käbir sebitlerde çagalaryň eşikleri bölejik matalardan taýýarlanylyp, alajalar dakylýar we maýdajyk nagyşlar bilen bezelýär. Umumy türki mirasynyň bir bölegi bolan türkmen keşdeçilik sungatyndaky nagyşlar halkymyzyň dünýäniň sungat medeniýetine goşan taýsyz goşandydyr. Türkmenleriň milli keşdelerine mahsus bezeg nagyşlar Merkezi Aziýanyň beýleki halklarynyň dokma önümlerinde öz beýanyny tapypdyr. Medeni gatnaşyklaryň işjeň ýagdaýda ösmeginde möhüm orun eýelän Beýik Ýüpek ýolunyň esasy ugrunyň Türkmenistanyň üstünden geçmegi sebäpli, türkmen keşdeçilik sungatynyň äheň, stilistik aýratynlyklary we ýerine ýetiriliş usullary alyslara ýaýramak bilen Gündogaryň wizual diliniň düzüm bölegine öwrüldi. Häzirki döwürde, keşdeçilik sungaty Türkmenistanyň gündelik durmuşynyň we baýramçylyk medeniýetiniň möhüm bölegi bolmagyny dowam etdirip, türkmen keşdeleriniň elementlerini özünde jemleýän önümlere ýurdumyzda we daşary ýurtlarda yzygiderli isleg bildirilýär. Türkmen dizaýnerleri milli egin-eşiklerde we dürli esbaplarda nagyşlaryň özboluşly bezeg elementlerini ulanýarlar. Nagyşlar döwlet kabul edişliklerinde, dürli medeni çärelerde we maşgala dabaralarynda zenanlaryň egin- eşiklerini bezeýär. Hünärmenler, bir tarapdan arzan önüm öndürmäge mümkinçilik berýän, beýleki tarapdan, hakykylygyny saklamakda mesele döredýän maşyn analoglary peýda bolsa-da, elde keşde çekmekligi dowam etdirýärler. Ýurdumyzda keşdeçilik sungatyny goldamak we gorap saklamak üçin orta mekdeplerde gurnaklar we ussahanalar işleýär. Bu ýerde tejribeli keşdeçiler ýaşlara keşde çekmegiň usullaryny, dowam edip gelýän tärlerini öwredýärler. Senetçilikde bu sungatyň türki siwilizasiýasynyň aýratyn şahasy bolan türkmen medeniýetindäki ornuny bezeg we amaly-haşam sungatynyň derejesinden has ýokary göterýär. Arheologiki tapyndylar we Türkmenistanyň çägindäki etnografiki gözlegler bu ýerdäki keşdelik sungatynyň gözbaşynyň gadymy döwürlere – orta asyrlara we ondan-da has irki döwürlere degişli bolmagynyň ähtimallygyny ýüze çykarýar. Mälim bolşy ýaly, Seljuklar dinastiýasy Ýakyn Gündogaryň medeniýetiniň ösmeginde möhüm orun eýeläpdir, bu döwürde halkyň ýaşaýyş durmuşy, şeýle hem senetçilik sungaty ýokary ösüş derejesine ýetipdir. Türkmenleriň keşdelik sungatynyň iň nepis nusgalary zenanlaryň arasynda nesilden-nesle geçip, jemgyýetiň ähli gatlaklarynyň milli lybaslarynyň bezeg bölegine öwrülipdir. Nagyşlara aýratyn ähmiýet berlipdir – her nagşyň öz manysy we ähmiýeti bolup, olar ýoluň nyşanlaryny, saglyk, abadançylyk we hasyllylyk ýaly manylary aňladypdyr. Türkmen halkynyň Milli Lideri, Türkmenistanyň Halk Maslahatynyň başlygy Gurbanguly Berdimuhamedowyň jaýdar belleýşi ýaly: “Nagyşlar dünýäsiniň islendik bir görnüşi halkyň çuň filosofiýasyndan gözbaş alýar” [Berdimuhamedow (1915), 146]. Türkmen keşde nagyşlarynyň häsiýetli aýratynlygy diňe ondaky nyşanlarda däl, eýsem ýokary derejede takyk ýerine ýetiriliş usulynda we reňk öwüşginlerinde hem ýüze çykýar. Keşdeçilikde adatça gyzyl, gara, ak, sary, goňur reňkler esasy ulanylýan reňklerdir. Bu reňkler tötänleýin saýlanmandy, olaryň hersinde kosmogoniki pikirler bilen baglanyşykly uly many bar. Mysal üçin, gyzyl janlylygy we ýylylygy, gara reňk bolsa erbet gözlerden goramagy aňladýar. Häzirki döwürde matanyň ýerligi bilen sazlaşdyrylyp beýleki reňkler hem ulanylýar. Nagyşlar, adatça ýüň, ýüpek ýa-da pagta matalaryň ýüzüne ýüpek sapaklar bilen keşdelenýär [Türkmen keşdeçilik sungaty (2022), 46]. Matalaryň ýerliginiň we reňkleriniň saýlanylmagy köplenç, sebite we maşgalanyň ýagdaýyna bagly bolupdyr. Türkmenistanda milli nagyşlaryň iň köp ýaýran görnüşleri aýal-gyzlaryň milli lybaslarynyň we çagalaryň eşikleriniň bezegi hem-de tahýalaryň keşdeleridir. Hojalykda ulanylýan esbaplar hem nagyşlar bilen bezelipdir. Toý lybaslaryna culture – as a distinct branch of Turkic civilization – extends far beyond decorative and applied art. Archaeological finds and ethnographic studies in Turkmenistan indicate that the foundations of embroidery art date back to ancient times – at least to the Middle Ages, and possibly earlier. The Seljuk dynasty played a key role in developing Middle Eastern culture; during its reign, people’s lives and ways of living, as well as handicrafts, reached a high level of development. The finest techniques of Turkmen embroidery have been passed down through the female line from generation to generation, across all strata of society. Special attention was paid to ornamentation – each element had its own significance; for example, symbols represented roads, health, well-being, and fertility. As the National Leader of the Turkmen people, Gurbanguly Berdimuhamedov notes: “In the world of patterns, any kind stems